Soul Club

January 29, 1971: The Partridge Family is in its first season, part of ABC’s fondly remembered Friday night lineup. The family’s #1 hit, “I Think I Love You,” is still on the radio, and in another week their followup single, “Doesn’t Somebody Want to Be Wanted,” will bubble under on its way into the Hot 100 and eventually, the Top 10.

On this particular Friday night, the Partridges have a problem. They’ve been booked into a club in Detroit, but it isn’t the posh hotel ballroom they’re expecting—it’s an old firehouse in a neighborhood they clearly find questionable, even nobody comes right out and says so. They park the bus, they go inside, and after a minute or two, one of the owners of the club slides down the pole.

Go ahead, click the link before you read any further. It’ll be more fun that way.

The actor on that pole had been knocking around big-time showbiz since his first network TV appearance in August 1964. He appeared several times on The Ed Sullivan Show doing Cosby-style standup, nothing like the revolutionary character-based material that would make him a household name beginning in 1974.

In the Partridge episode “Soul Club,” Richard Pryor and Lou Gossett play brothers who have opened the Firehouse as a neighborhood social club where “our people” can meet and hang out. They were expecting the Temptations to perform, but a booking agent screwup sent the Temps to Tucson and the Partridges to Detroit. Neighborhood boss Heavy, from whom Pryor and Gossett have borrowed the money to start up, is the one who orchestrated said screwup, and he threatens to call their note.

While hanging out in the club office (decorated with a Jimi Hendrix poster and one for famed California underground radio station KPPC), the Partridges get an idea: a block party, at which they’ll play, in hopes of making enough money to keep the club afloat. Keith says, “I’ve got an idea for a new song! It’s an Afro thing.” Pryor arranges it for a string section, which Danny recruits from the local Afro-American Cultural Society, who are intended to stand for the local chapter of the Black Panthers. The block party is a hit (even if Keith’s song, “Bandala,” is about as African as Keith himself), the note is paid, the club is saved, and the Partridges promise to play there again someday. Palms are slapped and awkward soul shakes are exchanged, Danny is made an honorary member of the Afro-American Cultural Society complete with revolutionary black beret, there are laughs all around, and we fade to black.

According to David and Joe Henry, authors of Furious Cool: Richard Pryor and the World That Made Him, “Soul Club” was a backdoor pilot for a future series starring Pryor and Gossett. It’s hard to know how serious the backdoor pilot talk really was. By 1971, the time was surely right for a TV series focused on African-American characters, but a series set in a club that supposedly attracted national acts would be tough to sustain without actually getting some of those acts to appear. (In addition to the Temptations, the name of James Brown is also dropped in “Soul Club.”) At that point, Gossett had more acting experience than Pryor, having previously co-starred in the Revolutionary War series The Young Rebels. Pryor was already earning a certain reputation for trouble. In her autobiography, Shirley Jones remarked that Pryor was “drugged up” during filming. He would return to small TV and movie roles for another three or four years.

TV historian Tom Hill ranks “Soul Club” at #81 on his list of the 100 best TV sitcom episodes of all time. In an era when popular entertainment prized “relevance,” it certainly had that, even while swaddled in a blanket of Hollywood cheese. And it’s one of those grand collisions between pop-culture icons you’d never expect to mention in the same breath.

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